atm711

The costumes were very unappealing, particularly Tybalt's and Juliet's. (Was none of her family embarrassed that Paris saw her in her short short short (night)dress??)

ITA agreement w/ you Rosa. The bedroom scene took me right out of the story. No noble family would allow their "virginal" daughter to be seen that way.

absolutely---I thought those 'baby-doll' nighties went out with the 50's.

For a moment, when I looked at Villella's left foot, I thought he was wearing a toe shoe.

it really does look like a toe shoe---it looks like CB lost part of the shrubbery on her head. that look on EV's face is priceless.

Women weep when their boyfriends break up with them!

In his review, Macauley was not entranced with V. Part---he said

"VP dances well as Natalia but lacks the vulnerability that could give the ballet the pathos it needs---you see she suffers, but you don't greatly care...."

Hmm-mm-- perhaps she was relieved to be rid of the two-timer --and it's a bit much to dump all women in one pot, MJ

I haven't seen the ballet yet--I bought my tickets before the cast announcements hoping to see Stiefel's Prodigal--which I thought would save the day (no matter who did Dnieper) ---it's a Sat Mat performance and I will try hard to keep an open mind.

And she was the sassiest of all I have seen in the role ---and she certainly wasn't threatened by the 3 sailors (as some recent performers have been)---this girl was above the fray. That look in her eye captures the way she performed the role, as a real New Yorker would (which she was).

So what I would really really love would be educational programs that would familiarise us with ballet, like having a variation danced and then the basic steps explained, what they are supposed to express, some historical context to go along, interviews, all this can be made in a fun way, for children and adults alike.

About as close as you can come to your wish---there is a series by Frank Augustyn (Nat'l Ballet of Canada) where he tries to do just that in a series of nine half-hour programs, complete with an array of notable dancers. It is called 'Footnotes'

As to the original question---the older I get the more I appreciate watching ballet on DVD (on my HUGE screen)--no large heads in my view! The documentaries appeal to me, but having watched them once I rarely go back for other viewings. For this reason, I also do not buy movies on DVD---so---having them available online (even for a small fee) would appeal to me.

I saw Saturday's matinee and Danil Simkin in Allegro did not disappoint. An outstanding danseur noble in the making. What a joy to behold--such expansiveness--he commanded the whole stage and gave constant attention to his partner even when watching her from the sides. (his resemblance to Baryshnikov does not hurt ) I saw Misty Copeland's Tchai PDD at the dress rehearsal and also today and thought she triumphed both in style and technique. I am still marveling at Veronika Part's Mozartiana. No one, and I mean NO ONE equals her use of the upper body in this work--the port de bras--the 'back'---intoxicating. The problem with T&V is that it requires an established Ballerina---not a soloist. Lest we forget it was created for Alicia Alonso at the height of her technique and artistry. As Dale pointed out, there seems to be too much smiling in all of these works. Part was properly solemn in the Preghiera but too flirtacious in the PDD---also Reyes and Kajiya could not stop smiling---could this be what the Artistic Director requires of them?

Aside from the ugly sets and simplistic choreography, the use of "young" lovers simply did not work for me. I longed for the grandeur of a Ferri or Fonteyn--who tell volumes just by sitting very still---and not showing all their emotions in their face alone---it was like watching an emoting heroine from a silent movie. But the character that really raised my hairs was Martins treatment of Mercutio---he looked like an escaped Joker from Swan Lake---he kept bobbing up all over the place.

That said, my apologies to Hyltin and Fairchild (a most handsome Romeo!)---two very talented dancers--it's not their fault.

A great ballet---but---isn't this interpretation far-fetched?

Can you provide a quotation or some description? I don't have the latest BR.

Quotes? rather hard to come by. The article is 25 pages and 8 of them are devoted to Concerto Barocco. Suffice it to say I have never seen CB discussed in the same breath as flowering orchids, James Agee, Billie Holliday and visiting insects.

A great ballet---but---isn't this interpretation far-fetched?

Next up for me is Doris Kearns Goodwin's Team of Rivals which was sent to me by a long-time friend I met on Ballet Talk before our daughters both became professional dancers. I've read other (smaller) books about Lincoln, but none with a focus on his "team". I'm really looking forward to it. Anyone else read this book yet?

Good to hear from you, vagansmom. I haven’t, but the book has certainly been talked about in recent months. I’d be interested to hear from any BTers reading it, as well.

I read the book quite a while ago--and in one word--Terrific! In fact, she brought Lincoln to life for me and after a year of reading most of it---my bookmark is still at the assassination---unread--he was so alive in this book I could not bear to go there again.

I voted No---because I do believe that today's ballet scene has a lot to offer. It took Balanchine years to become the ikon he is today---it was not always so. Whoever is out there, he/she must educate the public to his/her vision---which is what Balanchine did.

Was there a Mamzelle Angot ballet and who did it?

It is a Massine ballet performed by Ballet Theater in 1943 with a cast that included Massine, Nora Kaye, Andre Eglevsky and Rosella Hightower, Sadler's Wells did it in 1947 with Alexander Grant, Fonteyn, Somes and Shearer.

Wonderful---thanks so much Leonid---you made me feel I was there cheering with you.

Part danced the 2nd movement of Symphony in C with the Kirov at the Met in 1999. Others here probably remember it better than I do, but, in any case, the Times was complimentary.

Yes, I saw that performance---she also danced Terpsichore on the same program. How I would love to see a repeat of that now. I am sure she has developed a better Balanchine style than she had ten years ago. But, it was a great feat to take on two triumphant Farrell roles in NYC. I look forward to her Mozartiana and pray that she has sought out Farrell for coaching.

Bring out the champagne

This is the first time I've been eligible to attend a dress rehearsal at the Met. I made my reservation online. It doesn't appear that there are assigned seats except for selecting the area - I asked for Orchestra. My confirmation email said to arrive at least 15 minutes early as there would be no late seating. Are these rehearsals heavily attended? If there aren't assigned seats, how early would you suggest queuing up for a good seat? Any advice from those of you that have attended in the past would be greatly appreciated!

Confirmed seats in the area you have chosen will be mailed to you. As the time gets closer and the tickets haven't arrived---the best thing to do is to call the Dancer's Circle office.

Why does ABT keep casting Kajiya in things like Ballo & T&V? In my opinion her Ballo was a total misrepresentation of the ballet and her Y&V was not very good. I like her in other roles but am puzzled by continued casting in these roles. These ballets deserve better!

Funny thing about T&V--which was originally created for Alonso, who was, indeed a great Romantic dancer and also classicist. T&V in 1947, when it was created, had a much softer look (something that was missing with Kirkland). It was years before I saw that look again in a performance by Asylmuratova. I did see Kajiya's T&V and I am looking forward to seeing her again this season in the role, and watching her develop. I hope she doesn't loose the softness; the 'manner' will come with maturity.

I have always had a special fondness for her and her husband after seeing them in a magical performance of 'Anna Christie'. All I can do is pray for them and so I do.

Does anyone know whether the flexed back was characteristic of William Dollar, the original Melancholic? If not, was the original version different, and the newer version required it? Or was it the characteristic of a particular dancer that made it a plus or pre-requisite?

Interesting question, Helene. When I saw Dollar in the role he was approaching the age of 40 and he was not known for his pristine technique. I must say that seeing this "Petrouchka-like" performance was a bit of a shock and at the time we attributed it to his technique! (or lack, thereof) It was Bart Cook who became the defining Melancholic.

Scholars of classical Greece have believed for a long time that the playwrights Sophocles (Oedipius the King, Antigone, Oedipus at Colonnus) and especially Aeschylus (Agamemnon) not only wrote the words but also composed the dances, which were performed by the chorus as they spoke the poetry, which was composed with "feet" (i.e, rhythmic units suited for dancing. Like an iamb would be same rhythm as glissade or pas de chat.

I saw the Sophocles trilogy a couple of months ago at a downtown off-B.way theater--and loved every minute of it--but now I know what I have missed. Your descriptions of the dancing left me wishing I had seen a production that included it. I shall let the Pearl Theater Company know they need a choreographer.

I actually watched this for a bout 15 minutes today---but found it too trite---deHavilland was a bit 'long-in-the-tooth' for the part and Forsyte had no charisma as a leading man---if only had known about the SL clip---g-r-r-r

Kathleen is right. Comparing the way Barocco was danced in say the 50's with how it is danced now is like comparing apples and oranges. It's less jazzy and more lyrical. This had to have been Balanchine's doing, he was there after all. Was this due to a change within himself or was he responding to a different way of moving in his dancers?

I have felt that the height of the dancers brought a bout the change. When I first saw 'Barocco' the dancers were about 5'2" or 5'3"--the dancers I saw then were Moylan, Marie-Jeanne, Boris, Wilde---all petite . The long-legged ones move differently, as we all know. I still cringe when I see one of the current generation in the 2nd mm where the dancer is latched on to the side of the male dancer and she swings her legs back and forth---all I can think of is 'big bird'. It looks cumbersome. (and while I'm at it, I will never grow to like those white costumes.)

The 'Sylphides' clip was so beautifully performed; it's the first time I have seen it. I doubt there are too many people around who have been watching Tallchief for as long as I have. I have been watching her since she was a mere 19 years old (in 1944). (check out my blog above where I have written about those early years). She would have been a Ballerina with or without Balanchine (fortunately the latter prevailed). Lorenzo, it's too bad you 'only heard of Maria Tallchief' and did not actually see her. I don't think Beriosova comes out all that well on that Video; but I certainly don't hold it against her reputation.

It's on my Queue List at Netflix.

Cristian--we certainly gave two very different views of Alonso and I am sure they are both correct. As to the other Alicia-----I think a person (whether male or female) to be considered glamorous should have some sex appeal. While Dame Markova had many fine attributes---this was not one of them.